"/assets/images/music/sunworshippaledawn.jpg", "height"=>100, "width"=>100}" />
The lone and wandering riff is perhaps the quintessential black metal music-component figure. Dismal yet passionate, adventurous, trying to break the shackles of time and history, a candlelight gliding through perennial corridors. It is ideally without beginning and end, just fading in and out of our perception, yet eternally there. And if the riff is the microcosm of the genre itself, then one can perceive black metal as a being against time, striving to be out-of-time itself, to haunt and wander eternally, like a pure force of nature, free of human concepts. Germany’s Sun Worship, with their sophomore album, “Pale Dawn,” embody this aspect of black metal, creating a monolithic album that resembles a massive monument to eternity. One could say that it captures the image of a frigid, pale dawn, and then it fossilizes it upon a wall that is outside the cosmos.
“Elder Giants,” the band’s debut, was an excellent take upon the Scandinavian sound, and how one could distill its iciness and barren glory. It was quite doubtful whether the band could surpass this masterpiece, and their participation in the 4-way split “Into The Vortex” with an ambient track, made me anxious of a musical direction change. Thankfully, from the first notes of “Pale Dawn” it becomes apparent that Sun Worship have retained their trademark sound.
The core materials are well known: Norwegian riffing, of the “Transilvanian Hunger” and “De Mysteriis..” school, filtered through a less dark, more icy prism. Each song is built around a riff (lone and wandering as aforementioned), long-winded, ecstatic as the figure of Zephyrous on the “A Blaze In The Northern Sky” cover. They keep unwinding, like from a never-ending ball of yarn, with laconic fluctuation, imprinting upon the listener the granite of timelessness; due to this backbone each track resembles an icebreaker. Beyond each of the basic riffs however one can discover a few melodic guitar mannerisms, some almost-thrashy moments, mid-tempo deep breaths. Vocals are desperate, coming from beyond, flickering like fog for a while, then returning to uncreation, or just beyond creation. But there is also beauty in here, harsh or otherwise (like in the amazing hymnal vocals of the last track (“Perihelion”) which evoke the ritual majesty and sombreness of the namesake track of “De Mysteriis Dom Sathanas”). What ultimately dominates here is a single-minded passion, a mania one could say; but due to the inhuman quality of this artifact it is not so easy for one to get away with such terms, mostly associated with human feelings and states of mind. Better use descriptive imagescapes:
Giant plateaus of pure majestic inhumanity, now and forever reclaimed by the elements; stone figures standing unmoving; the moment of arctic dawn after months of darkness, forever frozen in time. That’s the spirit of “Pale Dawn.” I cannot yet say whether it surpasses its predecessor, but it is definitely close to achieving it. Still, this is not really something that matters. What matters is that this band from Germany has managed to capture the essence of northern black metal, much better than most of recent band hailing from the far North in question. A study in pale frost – and how it immobilizes time.